Posted: Sun Nov 23, 2008 6:16 pm Post subject: Triad Pairs
Something I find very useful, is just mixing and matching 2 different Triads.
Just starting with the Diatonic Triads in a Key. This will open the door, for a Non-Diatonic Triad to help "Hear" the Altered Notes.
EX: Key Of G
G + Am
G B D + A C E
Works great over Maj. or Dom. Chords, as it contains no 7th. But, it has the R, 3, 5, 2/9, 4/11, 6/13.
I particularly like using the 4 as a nice Tension.
Or,
G + D
G B D + D F# A
R 3 5 M7 2/9
Both of those work well over Pop and Traditional Tunes. Great for Bluegrass and Country Tunes also. And I really like them over older Swing type Tunes.
Bluesy? Well, now we're talkin'!
How about:
G + Dm
G B D F A
Using the Non-Diatonic Dm Triad, you get an F. A b7.
So, R 3 5 b7 9
G9
Ahhhh!
How about something a little more "Modern"?
2 Major Triads, a Whole Step apart, will work great!
G + A
G B D + A C# E
R 3 5 2/9 #4/#11 13
G13#11(no7)
Again, no "7". So, works great over Major, or Dominant Chords/Keys.
(As you can see, I really like the ambiguity of no 7 to pin things down. Save that Tone for later. Tension Baby! LOL)
2 Minor Triads, a Whole Step Apart? Let's see;
Gm + Am
G Bb D + A C E
R b3 5 + 2/9 4/11 6/13
Gm13(no7) or, Gm6/9add11
Lots of possibilities.
One thing about the 2 Triads a Whloe Step apart, is that they are very easy to visualize. And, it allows for some nice Symmetrical type fingerings. A great way to start employing "Altered" Tones. Once you get a few Lines and Phrases under your fingers, you might just start preferring some of those "Altered" Tones.
Anyway, LOTS to work with! Polychords, Altered Tones, etc.
In fact, this is a favorite Chord Voicing of mine:
Man, 41 "Views" and no comments, good or bad? Tough crowd.
I thought this approach would be old hat to you guys. Maybe you'd have some similar ideas, or Lines you've come up with, using these types of Concepts.
Maybe a more practical example would open up some conversation?
Here's a "Hands-On" example.
A Bluesy application.
You know the old "Sliding 6ths." Allman Bros. Lick from Stormy Monday?
This would be played over a G7. I figure they were thinking G7/Dominant. This move is outlined in the first "Measure" of the above Example.
So, b7 2/9 5 sliding up to R 3 6/13
Well, I LOVE this Form as a pair of Minor Triads! So here's my take, in relation to the Triad Pairs concept:
Dm to Em
Dm = d f a
Em = e g b
The Roots are on the B String, here. These 2 Triads are shown in the 2nd. "Measure" of the above Example.
And, whenever you see a Dominant Chord, play the Minor Pair, from the 5th. and 6th. of the Dominant "Parent" Chord.
Really opens up the Blues Scale.
The 3rd. "Measure" above, is a Phrase you can plug into a Blues, over a G7 Chord.
Now, for the more adventurous:
Add that b3 of the G Blues Scale, and you've got some cool Chromatic action. Kind of leads back to that E Blues Scale/G Blues Scale (Minor 3rd. Apart), and you can get Out really smoothly.
Great and deep stuff Budda!! I printed this to digest it home ...
There is one arpeggio Robben idea/lick, that I have not transcribed, that utilizes this (F/G pair for G dominant sound). Must. Transcribe. Today.
Also, another great bluesy application for those "Sliding 6ths" is Steely Dan's "Chain Lightning", which is basically 12 bar blues with a twist. If I remember it correctly it goes something like this (main melody notes are always F# and E):
There is great version of that song on Donald Fagen's "New York Rock and Soul Revue", on which Drew Zingg burns on those changes. I think there may be some of that in Youtube, too.
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